Brilliant technique. I've been doing silver gelatin printing since the 80's. I was taught that any trace of fixer would cause stains. I normally use rapid fixer with ammonium thiosulfate anyway. This technique will save me a lot of time in the darkroom.
Good job and good technique. The only thing that I do differently is my sinks are temp controlled, but probably isn't necessary for toning. When I first started out (back before fire was invented) the stink of the various chemicals we used to tone with was damn near unbearable. The new stuff is so much better to handle.
You are using what sounds to be quite a bit more of Na+ Sulfite as a hypo clearing agent, than the Kodak formula that they recommended for 50+ years (I have formula books that date back to the mid 1940's that show this formula), which has always been 10g to 500ml H20. What you want is simply something modesty alkaline (Na+ Sulfite has a PH of 9) to open up the matrix (increases permeability) of the print gelatin so that it increases the effectiveness of the wash. Some people use sodium carbonate instead because it likewise has a higher PH, but it has a highly variable PH, from strong to weak. And, ideally you want just a weak basic. Now, I use Kodak AZO paper, which has some very different characteristics (due to it's much higher silver content) than modern papers, but I hypo clear first, don't rinse afterwards, and then immerse in Kodak Rapid Selenium toner 15 parts H20 to 1 selenium. The residual Na+ sulfite on the print then drives the coloration towards the colder hues (AZO moves from a slightly olive color into the purples, again because of the high reactive silver content). But you could also rinse the print after the clearing agent, apply just a pinch of something acidic (say, citric acid) and drive your print coloration towards the warm colors. AZO is wonderful in that because of it's reactivity, depending upon how you plan to move your PH, you can obtain really complex toning colors that modern prints will never have--where you get warm combined with cool. For instance, you can get some warming plumb colors along with slight purples. And, this is not split toning, but an even global hue throughout all contrasts. Anyway, you have what seems to be really nice print values at 7:10. Very traditional, all the way back to the 1930's. AZO's colors are much more complex, and more reminiscent of the very early 1900's. Of course, mixed toning makes color matching extremely hard when retouching. But I am armed with several Kodak Color Retouching kits, and combined with a Kodak Spotting Colors kit, I can combine colors to get a match. Great video! I am so happy that someone is still teaching some of the more traditional techniques in an almost totally digital world!
@@Distphoto I was always told (and read) that selenium is neutralized by a simple but thorough water rinse. You are not accomplishing any damage by what you are doing, so as long as you are getting the results you want, who cares. But, with the older papers (silver chloride, or POP or albumen) you can drive your toner towards warm or cold values by the PH in which you immerse the print. (Hence the use, say of Au Chloride toner--which is usually--but does not have to be acidic, vs. borax--which is always basic. The same is true of Sodium Sulfite, it has about the same PH as borax). I do not know if that is true of your newer papers. I have a lifetime supply of AZO and POP. When the standard graded papers began to be replaced by variable types (1980's), I saw the handwriting on the wall and began buying (and commissioning) the stock that I have today. But your display print you exhibit here looks very fine. And the toning is certainly within the normal parameters of a modern fine print. Congratulations!
@@RenYang-s8t Hello. I don't give out my email to those I don't know--especially when it is not my channel (I do have my own). Sorry, but it is the smart thing to do. Exactly, what is it you wish to know? Very few people even have AZO paper these days--its manufacture by Kodak was discontinued 20 years ago. The only place you can get it now (which is extremely rare) is on eBAY.
@callmeBe I am using AZO paper. Can you tell me how to use the pH value of sodium sulfite and citric acid to change the composite color of warm and cool colors of photo paper? Thank you!
@RenYang-s8t THe standard toning formula for most papers (to include AZO) is: 15 parts H20 to 1 part Kodak Rapid Selenium Toner. That will get you about the same color as the video. So, definitely warm. The Kodak bottle actually recommends 1:20, which is fine--just a bit slower. As the video reports, the longer emersed, the more your print will shift to the reds, which is not good. Over time you will see this happen. So, just like the video, you can stop this process anywhere you want. Because AZO is the direct sequela (follower of technology) to the older print out papers, you can also by PH, drive the toning towards warm or cold. For cold: Clear your print immediately before with 500ml H20 + 10g Na+ sulfite. After--don't wash. Now put it in your 1:15 selenium. Add a table spoon of your clearing agent to your selenium as you do this. Now you will shift towards the purples. Like print out paper and albumen, this process is not nearly as predictable as the warm toning mentioned above. But you will definitely get colder colors that today's bromide papers. The longer you immerse, the colder the colors will become--still within the purples. They could be complex (again, something that modern papers will not get), where you get subtle plumb colors or browns. If you get into the browns refix your AZO with 1 minute of fixer and then again clear it. Your print did not have a complete fixing, only partial--which is fine. You can also use this technique to drive your paper towards a beautiful warm hue incorporated within an overall purple color. This is not split toning--like modern papers. It is complex toning where you get warm and cold together. One thing to keep in mind: unlike modern papers, as you tone with the Na+ sulfite, you will get such deep purple blacks that much of that shadow definition is lost. So, just watch for that as you tone, and remove when needed. Usually this happens around 5 minutes or so. Your AZO is capable of far, far higher quality prints than modern papers. Both in tone, and also in sharpness (has an ASA of 4). Congratulations that you have some!
Wonderful work and very informative video! Thank you! Can you tell me please which specific paper you use here, including dimensions? is it Fomabrom Variant 111? Have you ever tried the matt version (Fomabrom Variant 112 I think...)? Looks very nice for presentation in an exhibition, no?
Hi! I was hoping a look at the dry prints so we could see a comparision. Anyway, a nice video! I believe Ilford selenium tones differently than Kodak's, right? Thanks again, see you on the next!
@@joseerazevedo sorry no dry comparison in this one 🤷🏻♂️. Been a while since I used Kodaks but I do not believe there is a big difference. Have not done a direct comparison. Thank you!
I have been interested in trying toning as i have never done it. You are so good at explaining things in a clear and simple way, thanks!
@@CD-kc5op Glad you found it helpful! Thanks!
Brilliant technique. I've been doing silver gelatin printing since the 80's. I was taught that any trace of fixer would cause stains. I normally use rapid fixer with ammonium thiosulfate anyway. This technique will save me a lot of time in the darkroom.
@@donyee8970 It saves me a lot of time and works perfect. 👍
Well done. Thank you. Nice image.
@@robertgordon6362 Thank you!
Thanks!
@@sbills Thank you Steve!
Good job and good technique. The only thing that I do differently is my sinks are temp controlled, but probably isn't necessary for toning. When I first started out (back before fire was invented) the stink of the various chemicals we used to tone with was damn near unbearable. The new stuff is so much better to handle.
Thank you, Temp controlled sinks sound NICE!!! I do try to keep the selenium above 70F 👍
Thanks for your excellent video. Can we get the same result with RC paper?
@@lucbeliveau3977 your welcome, yes you can!
Excellent work
@@frederickchirinosrivas9324 Thank you 🙏
You are using what sounds to be quite a bit more of Na+ Sulfite as a hypo clearing agent, than the Kodak formula that they recommended for 50+ years (I have formula books that date back to the mid 1940's that show this formula), which has always been 10g to 500ml H20. What you want is simply something modesty alkaline (Na+ Sulfite has a PH of 9) to open up the matrix (increases permeability) of the print gelatin so that it increases the effectiveness of the wash. Some people use sodium carbonate instead because it likewise has a higher PH, but it has a highly variable PH, from strong to weak. And, ideally you want just a weak basic. Now, I use Kodak AZO paper, which has some very different characteristics (due to it's much higher silver content) than modern papers, but I hypo clear first, don't rinse afterwards, and then immerse in Kodak Rapid Selenium toner 15 parts H20 to 1 selenium. The residual Na+ sulfite on the print then drives the coloration towards the colder hues (AZO moves from a slightly olive color into the purples, again because of the high reactive silver content). But you could also rinse the print after the clearing agent, apply just a pinch of something acidic (say, citric acid) and drive your print coloration towards the warm colors. AZO is wonderful in that because of it's reactivity, depending upon how you plan to move your PH, you can obtain really complex toning colors that modern prints will never have--where you get warm combined with cool. For instance, you can get some warming plumb colors along with slight purples. And, this is not split toning, but an even global hue throughout all contrasts. Anyway, you have what seems to be really nice print values at 7:10. Very traditional, all the way back to the 1930's. AZO's colors are much more complex, and more reminiscent of the very early 1900's. Of course, mixed toning makes color matching extremely hard when retouching. But I am armed with several Kodak Color Retouching kits, and combined with a Kodak Spotting Colors kit, I can combine colors to get a match. Great video! I am so happy that someone is still teaching some of the more traditional techniques in an almost totally digital world!
@@callmeBe Thank you! My thinking is to halt the selenium I forget how many grams in a TBS. But I go heavy to halt the toning… may not be necessary.
@@Distphoto I was always told (and read) that selenium is neutralized by a simple but thorough water rinse. You are not accomplishing any damage by what you are doing, so as long as you are getting the results you want, who cares. But, with the older papers (silver chloride, or POP or albumen) you can drive your toner towards warm or cold values by the PH in which you immerse the print. (Hence the use, say of Au Chloride toner--which is usually--but does not have to be acidic, vs. borax--which is always basic. The same is true of Sodium Sulfite, it has about the same PH as borax). I do not know if that is true of your newer papers. I have a lifetime supply of AZO and POP. When the standard graded papers began to be replaced by variable types (1980's), I saw the handwriting on the wall and began buying (and commissioning) the stock that I have today. But your display print you exhibit here looks very fine. And the toning is certainly within the normal parameters of a modern fine print. Congratulations!
@@RenYang-s8t Hello. I don't give out my email to those I don't know--especially when it is not my channel (I do have my own). Sorry, but it is the smart thing to do. Exactly, what is it you wish to know? Very few people even have AZO paper these days--its manufacture by Kodak was discontinued 20 years ago. The only place you can get it now (which is extremely rare) is on eBAY.
@callmeBe I am using AZO paper. Can you tell me how to use the pH value of sodium sulfite and citric acid to change the composite color of warm and cool colors of photo paper? Thank you!
@RenYang-s8t THe standard toning formula for most papers (to include AZO) is: 15 parts H20 to 1 part Kodak Rapid Selenium Toner. That will get you about the same color as the video. So, definitely warm. The Kodak bottle actually recommends 1:20, which is fine--just a bit slower. As the video reports, the longer emersed, the more your print will shift to the reds, which is not good. Over time you will see this happen. So, just like the video, you can stop this process anywhere you want. Because AZO is the direct sequela (follower of technology) to the older print out papers, you can also by PH, drive the toning towards warm or cold. For cold: Clear your print immediately before with 500ml H20 + 10g Na+ sulfite. After--don't wash. Now put it in your 1:15 selenium. Add a table spoon of your clearing agent to your selenium as you do this. Now you will shift towards the purples. Like print out paper and albumen, this process is not nearly as predictable as the warm toning mentioned above. But you will definitely get colder colors that today's bromide papers. The longer you immerse, the colder the colors will become--still within the purples. They could be complex (again, something that modern papers will not get), where you get subtle plumb colors or browns. If you get into the browns refix your AZO with 1 minute of fixer and then again clear it. Your print did not have a complete fixing, only partial--which is fine. You can also use this technique to drive your paper towards a beautiful warm hue incorporated within an overall purple color. This is not split toning--like modern papers. It is complex toning where you get warm and cold together. One thing to keep in mind: unlike modern papers, as you tone with the Na+ sulfite, you will get such deep purple blacks that much of that shadow definition is lost. So, just watch for that as you tone, and remove when needed. Usually this happens around 5 minutes or so. Your AZO is capable of far, far higher quality prints than modern papers. Both in tone, and also in sharpness (has an ASA of 4). Congratulations that you have some!
Wonderful work and very informative video! Thank you! Can you tell me please which specific paper you use here, including dimensions? is it Fomabrom Variant 111? Have you ever tried the matt version (Fomabrom Variant 112 I think...)? Looks very nice for presentation in an exhibition, no?
@@costaspapageorgiou3773 This is Fomabrom Variant 111 gloss. I have not tried the matte version but would guess it is lovely
Hi! I was hoping a look at the dry prints so we could see a comparision. Anyway, a nice video! I believe Ilford selenium tones differently than Kodak's, right?
Thanks again, see you on the next!
@@joseerazevedo sorry no dry comparison in this one 🤷🏻♂️. Been a while since I used Kodaks but I do not believe there is a big difference. Have not done a direct comparison. Thank you!
Im using ilford fiber mat will this toner give my images a warm tone? Im using eco pro developer and fix. Thanks in advance!
Yes. I use the semi-matte fiber with the same developer, and usually tone with 1:19 as well.
👍
👍👍👍
Foma papers tone really fast
@@ironmonkey1512 Fomabrom is my favorite paper for selenium Fast like you say but to me the most consistent beautiful and controlled